We spoke with Juan Alfaro, art curator of the No Art, No Home project, an initiative that transforms Gunni & Trentino's showrooms into spaces where art and design coexist naturally, demonstrating that a home without art is not truly alive. In this interview, he reflects on the profound connection between these two disciplines, the role of art as a declaration of identity, and the importance of sensitive curation that gives meaning and soul to each space.
What is the No Art No Home project that you have curated in the Gunni & Trentino showroom?
The project is based on incorporating artworks by internationally renowned artists into Gunni Trentino's various showrooms in Spain. We wanted to showcase art in its natural habitat: homes. And we've curated each space to offer a comprehensive view of the impact of a piece of art combined with the finest interior design. Our commitment is unwavering: there are no homes without art. That's how disruptive our belief is.
How do you execute a space project from the point of view of art consulting?
We like to start working with the team of architects and interior designers from the very beginning of a project. This allows us to understand from the outset the philosophy and style that will be developed in each space and to propose the pieces we believe are appropriate for creating the perfect symbiosis between space, decoration, art, and lighting. This last aspect is especially important to us. Personally, I prefer that the interior designer handle the overall lighting of the house, allowing us to focus on the lighting of the artwork to ensure a flawless final effect.
What is the relationship between design and art?
I believe that art is any form of expression: visual, oral, architectural, or sculptural. That's why there's an intimate connection between the various artistic disciplines and design, especially when they're integrated from a curatorial perspective. In our spaces, this connection isn't decorative or superficial; rather, it reflects a very clear philosophy: No Art, No Home. We believe that a house without art isn't alive.
Design and art share an essential root: both speak to the soul of things. Art moves us, design organizes, but together they generate something more powerful: they create atmosphere, narrative, and a sense of belonging. The combination of carefully selected pieces, objects with a story, and works that awaken the eye builds homes that transcend functionality and become places with identity.
From this perspective, art is not an accessory, but a gesture of authenticity. Collecting art—even just one significant piece—is also a way of crafting your own narrative. Art is not a trend; it's a statement of intent.
What do you think about digital applications and AI applied to the art world?
We've recently witnessed a surge in AI-powered spatial visualization, which, in my view, will never replace the work of all the teams involved in a project, but will certainly complement, streamline, and enhance it. It's also interesting to see the progress of digital and digitized art projects—art created and conceived by design algorithms that translate thoughts into graphic representations—such as those offered by companies like ArtAI, with whom we're currently conducting some proof-of-concept tests on real-world projects.
What advice would you give to people who are starting out in the world of collecting?
They should acquire according to their personal tastes, seek professional advice if needed, and value art as a liquid market asset, and therefore always subject to appreciation or depreciation of its value like any other asset.
How can you ensure that an investment in art will be profitable?
We consider certain factors to be of great importance when recommending a particular acquisition: institutional and museum standing, the gallery representing the artist, the collections in which their work is included, pricing policy, the uniqueness of their artistic language, and the markets in which they are present. It's not a magic formula, but these factors help to limit the risk inherent in any investment. Our role, through analysis, is to offer our clients the best evaluation methodologies.
Will Gunni Trentino's art project only take place in Madrid?
We started in Madrid and Barcelona, and the intention is to gradually extend the No Art, No Home project to the rest of the company's showrooms in Spain.
How has the project been implemented in practice?
Through intensive collaborative work between the Gunni team of professionals and our studio, we worked for eight months selecting the different pieces for the spaces.
It is a project that has required delicate curatorial work and there is the result: we have created a unique product that never ceases to amaze all who visit us.
Was it difficult to select the artists?
The same factors I consider when making acquisitions are the ones we've used to select artists for the showroom. These are international artists with a presence on different continents and a specific aesthetic that reflects our vision and that of the Gunni team.
